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To be fair though, the Rumble 100V3 wasn’t really designed to take on such loud situations. I’ve used mine with a quiet drummer, keys and guitarist and it coped fine for what was needed. The Rumble 500 combo is an excellent thing IMO, loud / lightweight and sounds ace! Having been a ‘heavy’ cab user for decades, I’ve been amazed by how good the lightweight stuff can be. Barefaced cabs have been a game changer for me, and still got my Compact which I’m going to use at a festival gig on Friday.

That was just the RM, I used to have a MAG 300 and that definitely had the Ashdown 'sound'. It's been an interesting journey for me the past few years. You'll probably know I've designed cabs for folks on BassChat mainly to put something back in. I was a complete newcomer to bass when I first joined and people here helped me a lot with my playing. @stevie and I worked togetehr on the earliest designs but came from slightly different angles, he was always an FRFR man wanting the most accurate cabs he could make, no expense spared. I was more interested in finding out why people generally wen't for a cloloured sound and what it was they were looking for in their ideal cabs. It soon became apparent that Stevie's expertise was greater than mine particularly in crossover design and he was interested in making the best cabs possible with cost almost no object. I was lucky enough to be able to be around as he developed LFSys trying some early designs out, listening to a lot of prototypes and discussing loudspeaker design. I've finally settled on two of his designs. The original BassChat 110T and a Monza Meanwhile I've gigged more and moved towards using in-ears and no back line. Floor monitors for low volume gigs and the in-ears for everything else. The Monza is only used rarely when I've a drummer who wants a bass speaker behind him or at festivals where bad experiences with poor techs means I take backline as a backup. If the sound people get it right the volume stays at 0 if I can't hear myself I turn it up and leave them to sort front of house. I had a couple of experiences playing sets with no bass at all on stage so I won't use somebody else's PA naked, so to speak. Having gone FRFR by going direct to PA having the FRFR Monza is a godsend. Room acoustics allowing I get a consistent sound through PA/floor monitors/in-ears/backline and practicing at home through studio monitors or headphones. The surprise came when @stevie bought a Trace Elliott amp, it just spread some magic through the FRFR speakers. I tried my Peavey Minimax and it does a similar trick. There's no mystery, whoever shaped the sound in the Trace amp was very good at their job in tome shaping and I can't quite match their expertise. It isn't one sound to rule them all, I still shape my sound differently for different bands and songs and enjoy being able to get it whatever I'm playing through, but when I do use backline I treat myself to a little bit of colour from a definitely non-flat amp.

In my limited experience lightweight cabs don't cut it compared to the heavier stuff so I can see with this. Rehearsal room last week had a Fender Rumble 100 combo that was so light it was almost hovering in mid-air! Awful sonic experience with a drummer and loud lead guitarist.

It's just the sound you're used to.

Yamaha BB735a go for between 650 and 1100 same exact everything. Make this make sense? One thing that's a positive is that high end "heavy" cabinets are cheap, while lightweight cabs are at a premium. The sound is not as good I own 6 bass set ups and my lightweight Rumble 500 and Ampeg Porta 500 will never sound as good as my heavy stuff. I hought a Henry 8x8 for under $300.

Stand Down Margaret - The Beat

Ding, Dong, The Witch Is Dead - Wizard Of Oz soundtrack

Bass player for 30 years, also play guitar, and failing drummer. Want to be part of a non-American bass site

Maggie's Farm - Bob Dylan

For further detail of the MIDI message content for the MS series (applies to + as well AFAIK): https://github.com/g200kg/zoom-ms-utility/blob/master/midimessage.md